Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Barbados and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1976.
I'm losing my edge.
To all the kids in Houston and Woodstock.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lou Christie to the dance kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Kool Moe Dee. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Half Japanese,
The Peanut Butter Conspiracy,
Kool G Rap & DJ Polo,
Darondo,
Josef K,
Chris & Cosey,
Albert Ayler,
Eve St. Jones,
Jesper Dahlback,
Ohio Players,
Soul II Soul,
The Saints,
Henry Cow,
Rekid,
Harmonia,
David Axelrod,
The Pretty Things,
Silicon Teens,
Harpers Bizarre,
The American Breed,
Cabaret Voltaire,
The Gap Band,
Freddie Wadling,
Country Joe & The Fish,
Beasts of Bourbon,
The Five Americans,
The Stooges,
Lakeside,
Hoover,
Ornette Coleman,
Joe Finger,
Shuggie Otis,
DNA,
Pet Shop Boys,
Gerry Rafferty,
Sister Nancy,
Talk Talk,
ABBA,
Groovy Waters,
Teenage Jesus and the Jerks,
Zapp,
Cal Tjader,
Röyhkä ja Rättö ja Lehtisalo,
New Age Steppers,
Bootsy's Rubber Band,
K-Klass,
Derrick Morgan,
Flamin' Groovies,
Tomorrow,
Index,
Janne Schatter,
Motorama,
Television Personalities,
Rowland S Howard / Lydia Lunch,
Skaos,
The Smiths,
Stiv Bators,
The Slackers,
The Gladiators,
Avey Tare,
Kayak,
Swans, Swans, Swans, Swans.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.